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  1. Art, Creativity, Intellectual Property and the Commons

    Let us begin with a story about art. In this story, art produces aesthetic works of durability and stability — things that “stand up on their own”. The act of artistic production doesn’t come from nowhere; neither is it born in the heads of private individuals. It doesn’t dwell in a social nothingness. Nor does it start with a blank canvas. Any moment of production involves the reassembling and rearranging of the diverse materials, practices and influences that came before it and which surround it. Out of this common pool, art creates aesthetic works with emergent properties of their own. From the social world in which it lives, art creates affect and precept. It forms new ways of feeling, seeing and perceiving the world. It gives back to us the same object in different ways. In so doing, art invents new possibilities and makes available new forms of subjectivity and life. Art is creative and productive.

    David M. Berry - 21.09.2010 - 11:11

  2. The Politics of the Libre Commons

    The project of ‘free culture’ is committed to the creation of a cultural space, rather like the ‘public domain’, seeking to complement/replace that of proprietary cultural commodities and privatized meaning. This has been given a new impetus with the birth of the Creative Commons. This organization has sought to introduce cultural producers across the world to the possibilities of sharing, co–operation and commons–based peer–production by creating a set of interwoven licenses for creators to append to their artwork, music and text. In this paper, we chart the connections between this movement and the early Free Software and Open Source movements and question whether underlying assumptions that are ignored or de–politicized are a threat to the very free culture that the project purports to save. We then move to suggest a new discursive project linked to notions of radical democracy.

    David M. Berry - 21.09.2010 - 11:16

  3. Libre Culture: Meditations on Free Culture

    Libre Culture is the essential expression of the free culture/copyleft movement. This anthology, brought together here for the first time, represents the early groundwork of Libre Society thought. Referring to the development of creativity and ideas, capital works to hoard and privatize the knowledge and meaning of what is created. Expression becomes monopolized, secured within an artificial market-scarcity enclave and finally presented as a novelty on the culture industry in order to benefit cloistered profit motives. In the way that physical resources such as forests or public services are free, Libre Culture argues for the freeing up of human ideas and expression from copyright bulwarks in all forms.

    David M. Berry - 21.09.2010 - 11:26

  4. Responsive Environments

    This paper introduces the concept of a responsive environ- ment which perceives human behavior and responds with intelligent auditory and visual feedback. Several exhibits of responsive environments, implemented by the author, com- bining computer graphics, video projection and two-way video communication are described. VIDEOPLACE, an evolving exhibit which defines a conceptual telecommuni- cation environment uniting geographically separated people in a common visual experience, is discussed at some length. Based on these examples a new art form of composed man- machine interaction is defined. Finally, practical applica- tions are suggested for the fields of education, psychology and psychotherapy.

    (Source: Author's abstract)

    Original publication info: From AFPIS 46 National Computer Conference Proceedings, 423-33. Montvale, NJ: AFIPS Press, 1977. Rpt. in The New Media Reader, 2003.

    Scott Rettberg - 18.04.2011 - 14:00

  5. Reversed Remediation. A Critical Display of the Workings of Media in Art

    Reversed Remediation. A Critical Display of the Workings of Media in Art

    Eric Dean Rasmussen - 30.08.2011 - 10:48

  6. Riddles of the Interface: Hieroglyphic Consciousness and New Experimental Multimedia

    A discussion of Reginald Woolery's CDROM World Wide Web/Million Man March (1997) and other experimental CDROMs in the context of modernist ideas of the hieroglyph, interface aesthetics, and afrofuturism.

    Joe Milutis - 21.01.2012 - 17:04

  7. Primal Affective Ground and Digital Poetry

    Since the first symbolic scripts emerged, language has always been visual. My own work explores how language's visual can be read both as art and as poetry; how affect is amplified by sound; how generative and combinatorial layouts of text-video-sound open art from linear readings into infinite variations perspectives.
    For ELO, I am interested in creating an artist talk that utilizes content derived from two essays on digital poetry written for my comprehensive exams in the summer of 2009. The original essays are entitled: "Affecting Language: interdisciplinary explorations of emotion (new media, neuroscience, phenomenology and poetry)" and "Defining Creative Conduits: mediations on writing in digital media". Since both essays (as take-home exams) were each written over a brief 72 hour span, I look fwd to the opportunity of synthesizing and refining their argument into a presentation format.
    (Source: Author proposal)

    Eric Dean Rasmussen - 20.03.2012 - 12:42

  8. Art at the biological frontier

    In this paper I will discuss three recent electronic art works in which biological processes or interfaces are investigated. These works are entitled "Teleporting an Unknown State" (1994/96), "A-positive" (1997), and "Time Capsule" (1997) The first work created a situation in which actual photosynthesis and growth of a living organism took place over the Internet. The second piece proposed a dialogical exchange between a human being and a robot through two intravenous hookups. The third approached the problem of wet interfaces and human hosting of digital technologies through the implantation of a memory microchip

    Jill Walker Rettberg - 15.10.2012 - 14:47

  9. Words Made Flesh. Code, Culture, Imagination

    Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and experimental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that encompasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persistence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh.

    Johannes Auer - 08.11.2012 - 15:55

  10. Interactive Drama, Art, and Artificial Intelligence

    Artificial intelligence methods open up new possibilities in art and entertainment,
    enabling rich and deeply interactive experiences. At the same time as AI opens up new
    fields of artistic expression, AI-based art itself becomes a fundamental research agenda,
    posing and answering novel research questions that would not be raised unless doing AI
    research in the context of art and entertainment. I call this agenda, in which AI research
    and art mutually inform each other, Expressive AI. Expressive AI takes seriously the
    problem of building intelligences that robustly function outside of the lab, engaging
    human participants in intellectually and aesthetically satisfying interactions, which,
    hopefully, teach us something about ourselves.

    Scott Rettberg - 13.12.2012 - 17:36

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